MUSICAL MOODS
Adenkum
Adenkum is the music of Akan female bands. It is named after the instrument that is used in the performance – a gourd with a long neck and bulb end. Occasions on which Adenkum is played include ceremonial and festive occasions as well as funerals. Women sing of their lives and loves; of joys and sorrows. Oral traditions state that the wives of the Akan kings would perform for the delight of their husbands in privacy of the inner palace walls. Today Adenkum may be accompanied by men playing the dondo drum among the Fante, or the Prepensoa among the Asante.
Atenteben
One of the many traditional melodic instruments found in Ghana, the Atenteben bamboo flute is popular and readily adaptable for concerts of traditional and contemporary African Music. It has a beautiful and powerful tone and can be played alone as a solo instrument or an ensemble. The Atenteben is often used today to render dirges during funeral ceremonies and may be supported by percussive instruments. The absorption of Atenteben into the creative arena can be attributed to the diligent research and innovativeness of Ephraim Amu, a pioneering musicologist who worked for many years at the Institute of African Studies, Legon.
Gonje
Fiddling is part of Dagomba culture and fiddlers are found in the market place and at special social events where prominent citizens are praised. The Dagomba fiddle, Gonje has either one or two strings normally made of horse hair and played with a bow. The resonator is a calabash covered with snake or lizard skin. The fiddler accompanies his lusty songs with his instruments and may in turn be accompanied by one or more rattle players.
Seperewa
It is a Ghanaian traditional harp which originated from the Ashanti Region. The name ‘Se’ is an Akan language which literally means “Little or Small”. Therefore, this instrument can speak when it is touched. This instrument disappeared when the guitar was introduced in the early 1900. In the 21st century, the seperewa is enjoying a revival largely due to the encouragement and nurturing of artists in the International Centre for African Music and Dance (ICAMD) under the auspices of Professor J.H. Kwabena Nketia. the major proponent of the art form Osei Korankye is a member of the Ghana Dance Ensemble.
Nmani
Nmani is performed by the maidens of Dagbon in the Northern Region of Ghana. Traditionally restricted in the types of drumming that they can do, Nmani is a tribute to women’s inventiveness as they turn their everyday cooking utensils into musical instrument. At work as at play, calabashes are hardy, versatile companions by young maidens all over Northern Ghana. Nmani is music! Nmani is play! Delicately, the maidens tease a joyful rhythm out of their calabashes with metal rings. With lilting voices, they sing praises to their creator and thank those who have brought them up. In the past, young women played Nmani for their own delight but today they may do so on social occasions.